The Japanese mode is a pentatonic musical scale commonly used in traditional Japanese music. The intervals of the scale are major second, minor third, perfect fifth and minor sixth (such as the notes A, B, C, E, F and up to A :ja:ヨナ抜き音階.), essentially a natural minor scale in Western music theory without the subdominant and subtonic, the same operation performed on the major scale to produce the pentatonic major scale. The more correct term would be kumoijoshi, as given by William P. Malm for one of the three tuning scales of the koto adapted from shamisen music. Since the Heian period, there has been disagreement and contention among musical scholars regarding Japanese music and modal theory, and no single modal theory or scale model exists that can completely explain or identify Japanese music. The variations of Japanese modal scales are often compared to the western major scale. The classical structures of most Japanese music originated in China, and no attempt to develop a universal scale or mode occurred until Western music had been imported. After the Heian period began, Western modal theories became widely acknowledged by Japanese society, though often maintained in their own category as they could not entirely explain Japanese music across all of its iterations. Music in the Japanese mode is frequently found in video games, and the mode's influence may be heard in the music of contemporary composers such as Anne Boyd. History Evidence of music in Japan before the 6th century is present, but very limited and knowledge surrounding its theory exists. A consistent form of Japan music did not appear to occur until the Nara period. During this period, gagaku court music was introduced from China and then modified to fit Japanese styles and taste. Similar to Buddhism and Confucianism, music and musical instruments were also introduced from China in the 12th century. These musical theories, instruments and styles came to shape much of the traditional Japanese music that is known today. Though much of the Chinese music and theory was repurposed for distinct Japanese styles, it still retained many of the core elements of Chinese traditional music of the time. The standard theory imported from China consisted of an octave scale with 12 pitches derived from the circle of fifths. During the Edo period, Japan was shut off from the rest of the world and many new musical styles arose from this